In the case of the Manor of Art at Milepost Five, a sprawling group show in which artists took over an old nursing home, perhaps the best work and form followed institutional green function. Hands down my favorite room belonged to Troy Briggs (see above), who turned a cloistered sorrow upside down.
Just a couple of weeks ago I had Lisa Radon on the air and we talked about her future role as an art writer – to serve the community, yes, but maybe also to be a critic. They are parallel universes but not necessarily the same thing. When she edged out there far enough to say I don’t like all of it, someone gets upset. A big group show means different things to different people and where we are on the personal expectation of art.
Calvin Ross Carl felt the stage (the presentation) had its limits, but when it was handled right (as witnessed in Briggs and Brennan Conoway and a few others), the context was absolutely right. In fact I wouldn’t have minded getting a bit more scared. Nick Reibel said that once art was in an institution, it was dead – but I’d say that the undeniable factor throughout this exhibition was that you could not shake off the institution no matter how “punk rock” (a term I’m having some problems with!) the participants are. That term works for Klutch though – who handled the room and the toilet (below) with his typical, well known vigor.